In May 2015, I had the most Liverpool Night Ever. I found myself in England’s finest city to meet, interview and watch Weekend Escapes with Warwick Davies with Ralf, Viv and Eve Woerdenweber, Gogglebox’s finest healing-crystal Goths, for what became the official Gogglebook in time for the Christmas market. I’d arrived at Lime Street that afternoon and walked to my hotel rather than take a taxi – because I knew I could and it was, and remains, my style. A later minicab took me through Birkenhead Tunnel to the Wirral and I had a splendid evening on the other side, eating ice-cream cakes, stroking cats and drinking coffee. I’ll be honest, when I arrived back at the Hope Street Hotel, I was drained from travel and the emotional pressure of meeting two sets of new people and hoping to click with them in houses I knew from watching telly. I ordered fat chips on room service and settled in for a sales-rep night of solitude …

Until a friend phoned. Having sensibly fled her adopted London for her Liverpool home, Kate was carousing in the magnetic city’s most famous pub, Ye Cracke, which just happens to be round the corner from Hope Street and, on that occasion, contained another mutual acquaintance, the comedian Michael Legge, and my friend’s husband-to-be Pete Wylie. Resistance would have been churlish.

And then you realise, you’ve got nothing left to lose

I’d crossed paths with the municipally crucial Pete Wylie before, in 1989, two weeks after the horror of Hillsborough when he joined The Mission, Mick Jones and Lee Mavers onstage at Liverpool’s Royal Court Theatre for a chest-swelling benefit bill that found me in the orchestra pit, gazing upwards as these driven musicians radiated outwards. (My hitherto reigning most Liverpool Night Ever.) It’s easy to underestimate his legend in Jung’s “Pool of Life”. They do things differently there. Selfless acts are remembered. Remembrance is automatically civic. Loyalty is rewarded. Only New Orleans matches Liverpool for self-mythology, and it’s earned. Unlike certain musicians who helped put the city on the map, Wylie represents the majority who still live there. Like Catholicism, it never leaves you, even if you leave it.

So, there are photos of me, and Michael Legge, bathing in Wylie’s glow in Ye Cracke, the same Mecca The La’s had taken me to on my second ever journalistic trip out of London for the NME, in 1988. (The Farm would subsequently blood me at my first Yates’ Wine Lodge a couple of years later.) It’s a city that’s been on its uppers, and has had its fair share of shit, and not just from The Sun, but its heart is as big as … well.

Bands from Liverpool punctuate The 143: the Bunnymen, OMD, the Farm, the Lotus Eaters, the Beatles, and we’re not done yet. I’ve stopped asking if there’s something in the water; there just is. Liverpool was indirectly immortalised in 1960 as a “wondrous place” by local lad Billy Fury (even though his hit was written about some other place by a pair of Americans): “Man I’m nowhere/When I’m anywhere else”; a body of water crossed by its ferry were made myth by Gerry Marsden (and re-floated 20 years later by Frankie Goes to Hollywood); the name of one of its lanes, and the garden of a children’s home, gifted to the world by the Beatles; and Pete Wylie wrote the city an anthem suitable for footballing occasions both victorious and tragic.

But The Story of the Blues is the one. A hit as big as Liverpool in 1983, two years after the terrifyingly insistent Seven Minutes to Midnight had burrowed into the brains of me and my schoolfriend Craig. Wah! Heat had streamlined into Wah! and mainstream acclaim was theirs, or his, or both. (He gets a kick out of expanding and contracting his trading name, but in maverick, dandyish essence Wylie is Wah! and Wah! is Wylie.)

It is the early 80s, so it’s immaterial whether or not the lush strings that provide this pocket symphony’s prologue are real, or cooked up by microprocessors. The majesty of the ascending violins, further warmed through soulful backing vocals (some of which aren’t the hands-on Wylie) and an incredibly polite funk guitar riff give way to wall-of-sound excess that must have provided producer Mike Hedges with a good day at the office. These deft layers feel like literal extensions of the song’s soul. The creator describes it as a labour of love, recorded over months, learning the tech as he and Hedges went along. He aimed to make something that would “last forever.” Well, 34 years down the line, and it’s in rude health. Ask the fans who sing it at Liverpool games.

There’s no taking this record’s pride. When, having peaked, it strips itself down for the epilogue – just those rattlebag drums, some fading wooos and the string section until the dot of four minutes – it’s as if the song knows you need time to decompress. If I had to isolate the very essence of The Story of the Blues, I’d hazard a guess at the syncopated rhythm at the end of each line in the verse where the snare drops out for a beat – boom, boom-boom – a stroke, if I may, of genius. Those drums are played by Linn.

First they take your pride,Then turn it on its side,And then you realise you’ve got nothing left to lose.So you try to stop,Try to get back up,And then you realise you’re telling the Story of the Blues.

There’s an operatic quality to Wylie’s voice that suits the ambition of this gin-soaked, us-and-them anthem, which charted on Christmas Day 1982, put Wah! on Top of the Pops and summited at number 3, during 12 weeks on the chart. In the video, he’s all eyeliner, silk scarf, red kerchief and a jiggling energy that suggests either a rubbing of the gums or pentup pride.

While the song might have once been oh-so-mistakenly misread as a reference to Everton FC, its emanating aura of togetherness has seen it recently adopted by fans of Manchester City FC, and before that Chelsea, leaving Wylie understandably touched.

From one man’s pocket comes “front page news”.

A postscript: at the end of that memorable night in ’89 at the Royal Court, the power went out, plunging audience and participants into darkness. Wylie led a spontaneous community singalong, lit by the light of lighters: You’ll Never Walk Alone and, if I remember correctly, You Can’t Put Your Arms Around a Memory. Except you can.

Is it worth it?
A new winter coat and shoes for the wife
And a bicycle on the boy’s birthday

I wish I had the guts just to type out those three lines and leave it there. What more needs to be said about this lyric, written by Elvis Costello, that’s as profound as Strange Fruit, A Nation Once Again or What’s Going On, and a tune, written by Clive Langer, as mournful and affecting as the best blues? Shipbuilding couldn’t have come at a better time. It was the worst of times, in fact: the cruel, galvanising pomp of the first Thatcher administration, in which re-election hopes were boosted by a long-distance war with a South American country that claimed sovereignty over two island off its own coast that had been declared a “royal colony” in 1841. Such dominions were usually seized by war, and for trade purposes in the age of Empire. Whether or not the Falkland islands should or should not be classed territorially as “British” rather rests upon your feelings as to whether or not the same ought still to be said in the late 20th century of Virginia, Singapore, Rhodesia, Malta, Kenya or indeed any other far outpost stamped with the royal seal at a time when Britannia ruled the waves.

Well I ask you

The story of this mild-mannered, velvet-gloved protest song is complicated. In short, Langer, formerly of Deaf School, by 1982 a producer of great note (usually with Alan Winstanley: Madness, Dexys, The Teardrop Explodes), wrote the song for Robert Wyatt, formerly drumming vocalist with Soft Machine, now solo and surely the West’s most famous paraplegic Communist. Langer asked Elvis Costello (whose landmark Punch The Clock album he and Winstanley would produce a year later) to write some better lyrics and he did. Boy, did he.

The boy said, “Dad they’re going to take me to task, but I’ll be back by Christmas”

The single recording, produced by Langer, Winstanley and Costello, with Mark Bedford of Madness on double bass, Steve Nieve of the Attractions on piano, Langer on keys and Martin Hughes a quiet whizz on the drums, was released on Rough Trade in August 1982, two months after the capture of Port Stanley and the Argentine surrender. Too soon. A reissue in April 1983 charted, a historic first for Rough Trade.

Somebody said that someone got filled in
For saying that people get killed in
The result of this shipbuilding

A modest number 35 chart hit, then, but already hailed in corners as a modern classic and number 2 in the 1982 Festive Fifty behind New Order’s Temptation. (It was number 11 in the all-time Festive Fifty compiled in 2000.) Wyatt’s performance on the Old Grey Whistle Test remains a definitive document, and the beret and the beard worn in the little-shown video harken to his jazz roots. He had been paralysed from the waist down in 1973, but his appearance in a wheelchair – quite an arresting sight in those pre-diverse TV times (he’d had to argue his way onto Top Of The Pops when he had a bigger hit with I’m A Believer in 1974; the producer seriously tried to sit him in a chair so as not to frighten the faint-hearted) – seemed to amplify the power of the song. It does not shout. It does not scream. It does not call in expectation of a response. It cannot be sung at barricades. And yet its rage is intense. Wyatt’s high, plaintive vocal, tempered against overstatement by that hint of a lisp, could break your heart in two.

Within weeks they’ll be re-opening the shipyards
And notifying the next of kin

It has all the will in the world. It cuts deep with Costello’s observation that death in the South Atlantic will mean new shoes and a bike for working-class families on the Clyde. We should never forget that 255 British service personnel died in the pointless conflict and 649 Argentinians (including 16 civilian sailors), as well as three civilians on the Island. I was 17 at the time, and greatly affected. The Crass single How Does It Feel To Be The Mother Of 1000 Dead? is the only other that I remember to address this electioneering war. Sadly, it did not chart. Costello doesn’t write in slogans; rather, he pricks our conscience with passing, well-known idioms like “next of kin” and “back by Christmas”. In such short, simple phrases, he recalls other wars, other conflicts, other political campaigns and other political casualties. He even gets away with a pun (“take me to task”), proving that wit is permitted in all seriousness. The choice of “somebody” and “someone” before “people” is another sublime lyrical decision.

Sometimes, and it may only happen a couple of times per generation, a combination of voice, lyric, tune, instrumentation and timing says it all. Even, in this case, the choice of sleeve illustration: Stanley Spencer’s magnificent Shipbuilding On The Clyde series, painted between 1940-46 as a response to the Second World War, when a lot of rumours were spread around town. (The owner of the Glasgow shipyard where Spencer worked, Lithgow, did not approve of his interpretation, which is all you need to know about the art’s greatness.) You do wonder sometimes when you get to my age whether a constellation of talent as rich and influential as the one in the early 80s that gave British music 2-Tone, Stiff, Rough Trade, Costello, Langer and Winstanley could ever happen again.

Amid all the emotion and solidarity and protest, I remain in awe of Costello’s rhyming of “filled in,” “killed in,” “skilled in,” and “shipbuilding.” The Stanley Spencer of the Thatcher years.

More cowbell. I interviewed Paul Rodgers on 6 Music and it must have been before he joined Queen as I know this didn’t come up in our on-air chat. He was a nice, voluble guy, if a little orange in skin tone and practiced in his responses, and he must have been promoting a solo single as we were duty-bound to play it – and did so, happily. Because the 6 Music guest format was three tracks, wrapped around two hefty chunks of chat, I recall opening with the single (of which I can now find no record), during which I told Rodgers that I would be playing All Right Now – and sort of apologising for what was an obligatory choice – and also an old Free album track I’d carefully chosen as I liked it and it rarely got played on the radio. He was delighted that I’d gone to all the trouble, but his passive-aggressively controlling manager tried to intervene and stop us from playing it, as the interview was about his solo career and not his past. Rodgers overruled her and we played it. I wish I could remember which one it was, but it was from Free’s kickstarting third album, Fire and Water.

Anyway, who gives a monkey’s? Their stake in Actual Rock History is All Right Now, a thudding blues-rock keystone that’s so good it survived the chemical castration of being used in a TV advert for gum in 1990 and being a Top 10 hit again, 21 years after the first time and in a more sanitised context. This classic pick-up tune found a new, younger audience thanks to the aspirationally sweaty couple on the hot bus stuck behind a combine harvester who bond over the ulterior offer of his last stick of Wrigley’s (an act of spearmint philanthropy that causes her to get off the coach at his stop, in order no doubt to seal the deal, get a room and enjoy some mutual mastication). Free had split in 1971 (drugs, musical differences, sales charts), given it another bash in 1972, then split again in 1973. How nice for them to have an “As Seen On TV” hits album in the charts in 1991.

It would be coy to attribute the longevity of the Free name to anything other than All Right Now. It is a career in four minutes (five and a half on the album), and it’s enough to have the faces of Rodgers, bassist and All Right Now co-writer Andy Fraser, tragic guitarist Paul Kossoff and so-solid drummer Simon Kirke hewn into rock. Most bands form and split without coming anywhere near a four-to-the-floor geological event of the catchy, raw power of All Right Now. Unlike that chewing gum advert, it’s timeless.

Kirke’s industrial cowbell (more of that, please) leading a heavy-breathing beat, Kossoff’s roughly wristed riff, and just a wordless noises-off moan-and-yelp combination from Rodgers: it’s a textbook 60s-into-70s intro by a bunch of hairy blokes from London and Middlesbrough wishing they were from Memphis or Chicago, and wishing so hard it almost comes true. The blues was in these men at the time, and yet they would sell millions, fill arenas and steal festivals, just like the bluesmen didn’t. Like Mott and Zeppelin and Purple and Argent – and subsequently Bad Company – America would accept them as natives and form orderly beer queues to be near them. Somebody had to find a way of getting past the almost-academic legacy of the Beatles. In rediscovering their inner caveman, groups like Free achieved that Holy Grail.

If Fraser is playing the bass at all at the beginning, it’s too low to tell. But what’s key about the arrangement (by the band, John Kelly and future Queen man Roy Thomas Baker) is the space between the strokes and thumps. This allows the air in and accentuates each grunt. “There she stood,” regales Rodgers, his voice even at 21 sounding lived-in and world-weary, “There she stood in the street, smilin’ from her head to her feet.” You’re picturing the scene. It does that.

Much of the lyric is presented as a two-way reported conversation – no wonder it became a storyboard for a commercial. He was like, “Hey, what is this?” and she was like, “Look, what’s your game? Are you tryin’ to put me to shame?”

I love the horny protagonist’s chat-up line, “Now don’t you wait, or hesitate. Let’s move before they raise the parking rate.” At any rate, he takes her home to his place, “watchin’ every move on her face,” and it’s he who tells her to slow down when they get there. Not such a macho ape after all. He’s a sensitive lover. And at the end of the day, it’s all – beat – right now, baby, it’s a-all – beat – right now. (I love classic songs that don’t quite scan, it’s like the lyric had to be contained somehow by the tune and not the other way around.)

Highlight for me is the machine-gun snare fill by Kirke after the “parking rate” line and a Rodgers howl before the first chorus, or else the polite appearance of the bass for the bridge under a blowtorch solo from Kossoff even in the truncated single edit. A fine, serpentine vocal take from Rodgers, too – let’s hope it was live – as spontaneous as jazz in parts, and the lust never sounds play-acted.

I can’t lie, I thought of buses and chewing gum while writing this. But I didn’t go out and buy any. So that’s all right. Now …

I don’t expect people to have heard of Kevin Coyne. I know I hadn’t when a friend with more left-field taste than mine introduced me to his work in the late 80s. By then, the square-peg troubadour had put out about 20 albums, including live ones and a double LP he recorded in 1980 at the time of his nervous breakdown, backed on Disc 1 by Robert Wyatt and Disc 2 by the Ruts, a bizarre cocktail that might help place the prolific, self-propelled and often uncategorisable ex-psychiatric nurse from Derby. Like Wyatt, he forged his own towpath and sang the blues; but he also embraced the punk spirit, having a dig at the record industry and his label boss Richard Branson in Having A Party, and dedicating the title track of Dynamite Daze to Sid Vicious.

Dynamite Daze, one of Coyne’s raucous, rattlebag English-psychedelic “band” albums before a marked left turn into sparser, less populated recorded material, was the first of Coyne’s albums I heard in full, and although I’ve dug deep into his bottomless back catalogue since then – and thoroughly enjoyed his 21st century work, from the sweet Sugar Candy Taxi to his unintendedly posthumous swansong One Day In Chicago with Jon Langford (he died in 2004 after two years of living with lung fibrosis) – it remains a beacon. Its highlight is always a two-horse race for me, with the opening title track neck and neck with Amsterdam, an equally lively rock-out that heralds what we used to call Side Two and hymns the aromatic delights of the Dutch capital (“Down in the Melkweg, the heat is on, it’s smoking and knocking them out”).

The reason Dynamite Daze pips it is because it so brilliantly, breathlessly captures the sound of a musician enjoying his work. Coyne had a curious voice, squeaky, rasping, definitely melancholy in the blues tradition, but prone to outbursts of joy, too. I could recommend any number of Coyne’s quieter, more intimate ballads – on this album alone there’s the mournful, lovesick I Only Want To See You Smile, accompanied by yes-him Tim Rice at the piano, and the lilting Are We Dreaming with Paul Wickens on accordion – but Dynamite Daze is an unabashed stomp, counted in by a couple of guitars, one electric, one acoustic, and a whump.

That punk spirit I mentioned? “You see me and I stand outside the Palais de Dance, I’m rattling my bones, I’m pogoing.” (That’s the Hammersmith Palais by its more historic name.) He goes on to state for the record that he’s “in a rage, in a rage, waiting for the dynamite days … You little punks, come out to play.” However, a hairy man in his mid-30s, he’s under no illusions about being part of Generation X, and with typical world-weariness, he crows, “Revolution! Seen it all, seen it all before!”

The beat gallops, time is kept, guitars are thrashed, and through it all, Coyne’s almost comedic gurgle; impossible to tear your ears away from, it hiccups and free-forms, rising to a crazy, yodelling falsetto with total abandon, and then he cackles into the second verse, chuckling away like the “luna-luna-luna-luna-luna-luna-luna-tic” he evokes elsewhere (this is a man who will title a later album Sanity Stomp without irony). His voice is a unique instrument, his delivery unhampered by selfconsciousness or any foolhardy desire to sound authentic. Coyne’s kind of authenticity is not earned, it is innate. In his best East Midlands drawl, he ends Dynamite Daze with a throaty “Git ard of it!” which – despite the geographical remove – reminds me of one of my Northamptonian elders.

Coyne should be as cherished as any other in the canon of English musical eccentrics: Barrett, Stanshall, Moon, Brown, Davies, Harper, Lydon, Sensible, Albarn, Haines. In my world, he is.

Artist: Blind Boys Of AlabamaTitle:Way Down In The HoleDescription: album track, Spirit Of The Century; … And All The Pieces Matter (compilation)Label: Real World; NonesuchRelease date: 2001First heard: 2006

When you walk through the garden …

There is, of course, nothing to stop a cover version from making The 143. It’s all about the version. I’m toying with Johnny Cash’s version of Trent Reznor’s Hurt for a place, as I believe it amplifies what’s moving about the original, for self-evident, contextual reasons. Blind Boys Of Alabama’s rendition of Tom Waits’ devilish Way Down In The Hole is embedded in popular folklore forever as the first incarnation to be used as the theme tune to HBO’s little-known cops-and-drug-dealers saga The Wire and that is why it’s included here. (All five versions are on the expansive, dialogue-grouted Wire soundtrack album – Waits’, the Neville Brothers’, DoMaJe’s and Steve Earle’s – and all have both merit and Proustian allure, but this here just about inches it.)

The original appears on Franks Wild Years (no apostrophe, sub-editors, except for the title track, which isn’t even on this album) This means I’ll have first heard it the late 80s sometime, when Jim Jarmusch’s Down By Law turned me on to Waits and got me exploring. I’ll be honest, it never leapt out of that lengthy, operatic album’s tracklist for me – I was more about Hang On St Christopher, Innocent When You Dream and whichever version of Straight To The Top (and to be even more honest, I was more about his other LPs which weren’t staged as plays) – but the minute I heard the tune resurrected on Episode One of The Wire, hunched over the DVD pre-Christmas 2006 on my laptop and not knowing quite what I was getting into, and instantly half-identified it, the voodoo magic made itself known.

I have sung – if that’s not too strong a word – Way Down In The Hole at Karaoke Circus (the live-band jamboree that gave both comedians and civilians the chance to knock out pre-chosen toons with a well-versed backing band and sometimes orchestra), onstage at the 100 Club. It was my first go of many over the years, and I chose to “do” Waits’ version, as he was easier to impersonate. It also meant I learned the lyrics, which are typically sincere and twisted at the same time (“Well you don’t have to worry/If you hold on to Jesus’ hand/We’ll all be safe from Satan/When the thunder rolls/Just gotta help me keep the devil/Way down in the hole”). As with so many of Waits’ songs, he sounds “in character,” so all is never as it seems.

I first heard the Blind Boys Of Alabama, who have now been going for seven decades (never mind The Butler – they really do have a firsthand story to tell about black history), on one of Andy Kershaw’s Radio 1 shows. Their contemporary take on gospel was probably still a little rootsy and rarefied even for my missionary tastes in the 80s and 90s, but many barriers have come down since then. (Anything bracketed under “World Music” seemed forbidding at the time, as if a passing interest might be considered an insult to indigenous people everywhere. This may sound daft now, but it’s how it felt.) Anyway, I logged their name.

As The 143 is all about the song, it’s not necessary to have an encyclopaedic knowledge of an artist’s back catalogue to justify the inclusion of one track. The Blind Boys have done many interpretations in their rich, rough and ready vocal style – harmonised with what sounds like ESP, maybe engendered by the blindness of some key members – and their cover of Way Down In The Hole almost feels like a reclamation. Yes, it’s more conventionally “soulful” than Waits’, but it also takes out some of his smoke-throated mischief, which is why both versions complement each other. While we’re at it, the Neville Brothers inject some funky Creole dirt, thus making theirs another valid argument for the song, while Baltimore locals DoMaJe bring the female R&B and Earle takes it a little bit country. All the pieces matter.

The Blind Boys’ take is quite dainty, with a tickled bossa nova drum beat, and minimal blues guitar. I can’t confidently identify who sings the lead, but it’s going to be Jimmy Carter, Ben Moore or Eric “Ricky” McKinnie, and when whoever it is sings, “he’ll saa-a-ave your soul” it’s as though he’s testifying. If Waits is closer to the Devil – and the hole – the Blind Boys are surely closer to the Lord. There’s age in this vocal, a sandpaper quality that brings heft to “the fire and the fury”. The high-pitched guitar solo is serpentine and precise, and there’s no point in denying it, the whole evocative kaboodle brings the opening-credits imagery of The Wire flooding back: the helicopter going overhead, the view from behind wire mesh of an SUV going by, the coin going into a payphone, the dancing soundwaves of wiretap equipment, the CCTV eye smashed by a flung brick.

The track’s foreshortened to a minute and a half for TV – that guitar solo lasts a measly bar – so it’s a treat to hear it at its full three minutes. I’ve not yet heard it in situ on 2001’s Grammy-winning Spirit Of The Century album among the more traditional gospel tunes, but you’ve got to hand it to them for making Tom Waits fit, and for making his song their own.

I know; 1992 seems like a strange and horribly belated time to have first heard the classic ballad Wild Horses. But you will admire my candour. I didn’t own a Rolling Stones album until the mid-90s. My first was Let It Bleed, which I bought in one of those HMV sales where they offloaded a lot of old stock and you could pick up bona fide classics for a couple of quid (built most of my belated Dylan collection that way). It instantly became my favourite Rolling Stones album. Well, it would.

Up to that point, I’d been – to borrow a phrase – aware of their work. I knew and liked the singles which were constantly played. Friends had albums of theirs, but I never even thought to borrow them and tape them. To me, in that heady post-punk reverie, I didn’t need the Beatles or the Stones to put marrow in my bones. They’d done their work. Sure, the Stones were still a going concern, but they felt to me like they belonged to the past. (Actually, in 1982, I found my interest piqued by the opening bars of Under My Thumb on my older friend Vaughan’s copy of the live album Still Life, but mostly due to Duke Ellington’s Take The ‘A’ Train, and the thwack of Charlie’s first drumbeat. It was a pretty limited sortie into their vast and aromatic back catalogue, but the ignition was there.) Anyway, then I grew up.

Even as a cub reporter for the NME, my knowledge of the Rolling Stones was basic; enough to get by. (I knew way more about Led Zeppelin, whose runaway blues-metal had turned my head.) And then I interviewed The Sundays, in 1992, on the cork-popping occasion of their belated return to our empty lives with second album Blind. I discussed Wild Horses in a Camden boozer with Harriett Wheeler and Dave Gavurin, a couple, and they told me what it meant to them and why they’d recorded it as a B-side. (Also, now I think of it, the Dylan tune Corrina, Corrina came up, which drove me to Freewheelin’ – I’m happy when synapses crackle in this way.) I loved their Wild Horses, knew it to be a cover, but had never heard the original. I don’t think I told them this.

But ain’t this often the way? Unless you were born before World War II, you’re bound to have heard occasional cover versions before originals in the pop era. For instance, I assumed the Flying Lizards to have written Money, then later found out it was a Beatles tune, then later still found out it was Barrett Strong’s. This is archaeology, and we should embrace it. The Sundays gave me the Rolling Stones.

Don’t worry. I have all the Rolling Stones albums now, and know them intimately. I prefer many of them to the Beatles’, and particularly favour Sticky Fingers, Exile On Main Street, Beggars Banquet, Some Girls and – still, after all these years – Let It Bleed. In order to sum up their effortless, smoky, unstoppably ragged glory (and let’s face it, their story is what makes them so good; their longevity feeds their legend where it might ordinarily leech it away), I took particular notice of a jukebox playing Forty Licks, I’m guessing, in an unassuming studenty pub in Tunbridge Wells. It played You Can’t Always Get What You Want, Sympathy For The Devil, Tumbling Dice, and it made me consider Have You Seen Your Mother Lately, and Brown Sugar, and Happy, which almost squeaked it. But there is no Rolling Stones song that delivers the emotional rescue of Wild Horses. (Also, Happy is a Richards vocal, and that don’t seem right.)

Jagger’s woundedly plaintive lyric was written, so I discovered after a cursory Wikipedia search, some time after splitting from Marianne Faithful (it was recorded in 1969), so not directly about her; meanwhile Richards reckons it’s borne of that loneliness you get when you’re on tour, of being “a million miles from where you want to be”. (This information comes from the sleeve notes to the Jump Back compilation.) What a monster breakup it evokes: “A faith has been broken, tears must be cried … no sweeping exits or offstage lines.” And waa-ah-ahhhh-ahhhhld horses couldn’t drag him away. Sticky Fingers, lest we forget, was the first album without Brian Jones, so some profound sadness is expected.

It’s a little bit country, a little bit rock’n’roll, and that combination of acoustic and electric guitars is enough to break anybody’s heart. That it was recorded, like Brown Sugar, in the soulful stewpot of Muscle Shoals, Alabama may explain the blues notes. (Were the Stones the first white rockers to rock up there? Fable says it’s so.) Hear it in situ on “Side One” of the LP, between the raw, metallic Sway and the urgently rockin’ Can’t You Hear Me Knockin’, and Wild Horses takes on an even balmier aspect; it cleanses the palate. I twin it with the resonant, Albatross-like Moonlight Mile, the album’s closer.

Hard to imagine that I had no Rolling Stones albums in 1992. Thank God for the Sundays.